Posted on: Thursday, February 4th, 2016
Two new Storefront installations – Piling/Peek by Amy Hamblin, and Fukushima Mon Amour, by Aria Riding – will be on view at the Meydenbauer Center in Bellevue, WA, from February 4, 2016 to July 2016. Presented by Shunpike as part of its acclaimed Storefronts program, the installations have been sponsored by the City of Bellevue and Meydenbauer Center.
Amy Hamblin is a studio artist living and working in Seattle. Her artwork has been shown in Japan and nationally at venues that include: Vrej Baghoomian Gallery in NYC, Seattle Art Museum’s “Party in the Park”, Mirabella Foundation in Seattle, Pilchuck Glass School in Seattle, and The Rymer Gallery in Nashville TN. Amy was accepted into the Emerging Artist Public Art Roster in 2013. Amy received her MFA from the University of WA in 1988, and her MFA from the MA College of Art, Boston MA, in 1986. A career in Arts Administration, most recently as Art Program Director at the Univ. of WA Medical Center, helped to inform her interest in scientific imagery. Amy was in the founding group of Emerging Artists-In-Residence at The Pilchuck Glass School in Stanwood WA, in 1990.
Amy’s work, Piling/Peek, utilizes mixed media including: woven metal wire, scissor-cut rubber playground balls, and vintage dress patterns, to explore a surreal and dreamlike vision of what lies beneath the surface, and what pops up through the surface. The sculptural elements carve form and mass out of hollow translucence and detail, and combine to create tableaux that feel ethereal and illusory. Imagery for these installations draw on studies of science and organic nature, the surrealist art movement. In describing her work, Hamblin says “I utilize and manipulate very diverse materials and processes into often unexpected directions and extremes.”
Aria Riding never goes out and is never seen, but her emissaries run Psychomachia Theater (Seattle) and the art/performance group Lost Dance Project: website: www.lostdance.com. Lost Dance Project has performed, taught, exhibited work and been hosted by companies in America, the UK, Japan, Scotland, Europe and Russia. Aria was awarded the Mary McCarthy Prize for fiction (Bard) and her works (art, stories, poems) have recently been accepted by Atticus Books, Gargoyle Magazine, The Adirondack Review, tNYpress, Typehouse Literary Magazine, Red Fez, The Rain, Party, and Disaster Society, A Glimpse Of (in Greek and English), HIV Here & Now Project, Apocrypha and Abstractions. She has just finished a manuscript entitled The Exhibitionists—a series of interconnected triggers, or stories of the unspeakable present: stories that examine the things we suppress, and continue to do while denying that we do them. “Every sentence in The Exhibitionists is beautiful and artfully crafted and stands alone … essential, as one expects from good poetry, but rarely ever finds in fiction.” John Biguenet, winner of an O. Henry Award and author of The Virgin Suicides, The Torturer’s Apprentice.
Describing Fukushima Mon Amour, Rising says: “These flowers grew out of the bodies of my family who died in a natural disaster. My family had to give their lives for the fragrance and bloom of these beautiful flowers.” We live in a time of memorial, even for the future. For the things we have been conscripted into, we already have to pay our respects to future generations: these works are fossils of existence abstracted: almost-formed plants, animals, and furniture.
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